D sub connectors for a snake, any experience?

I'm going to need to make some changes to my studio set up to make it easy(ish) to break down.  I currently have an 8 channel snake that runs from the basement (live room) to the back of a rack in the living room (control room).  Im' thinking if I cut the snake in half and wire up d sub connectors then it would be easier to break down and convert back to a houeshold.  Since instead of unplugging all that gear it could just be one 50 pin connector.

Having never used d-subs, any pitfalls to avoid?  Any good brand names or mouser part#'s?  I've having trouble finding a part that looks like it would seat well to the end of a cable, all the connectors I've seen are panel mount.

I have a reasonable amount of experience wiring up Dsubs.  There's nothing wrong with using them so long as you take a little bit of care when plugging in & out.

For 8 core balanced you need 25pin Dsubs.  you can get the tascam standard pin for this quite easily using Google.  In my view it's best to use 25pin max for balanced audio, because it's difficult to get metal housings that will take anything larger than a 13mm diameter cable.

It's also a good idea to use thread lock on the static screw/nut things that you screw into  that will hold 2 conns together, otherwise when you undo them it tends to undo the wrong part.

The D sub was pretty popular for wiring looms used with small format tape machines and recording. They are generally not considered robust enough for professional live sound snakes, but if handled carefully they will work.

JR

make sure the hoods have the longer thumb screws that do not require a screwdriver. The hoods with the small flat screwdriver screws annoy the hell out of me as I usually spend more time trying to get those unscrewed  then the thumb screws versions

I use circular MS or PT type connectors.  More expensive, but you only have to do it once.
Best
Bruno2000

pucho812 said:

make sure the hoods have the longer thumb screws that do not require a screwdriver. The hoods with the small flat screwdriver screws annoy the hell out of me as I usually spend more time trying to get those unscrewed  then the thumb screws versions

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+1

They are generally not considered robust enough for professional live sound snakes, but if handled carefully they will work.

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This got me thinking maybe elco's would be better, I forgot about them.

I use circular MS or PT type connectors

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Those are pretty rad, and maybe not a whole lot more expensive than elco's once you add the hoods and pins.  I'll have to price out each version.

Thanks everyone, as always excellent advice.

I only use dsubs  if it's for a pro tools  I/O or other unit that has them otherwise I avoid d-subs all together.  They are a computer connector and hardly a pro audio connector but they are very very inexpensive which is why companies use them.

Don't do it! Use d-sub they said, save a little money, save a little room they said. 2 months later one pin of the male end breaks and rip it all out and buy the TRS jacks that will last you 50-odd years.

D's are certainly more fragile and also you need to be careful in the selection of the hood so that you don't have a problem with the large diameter of the 8pr.  If you use a slide-latch it will be easier to deal with and be without the thumb screws that tend to catch on everything as you reel in the cable.  Get some extra mating connectors to protect the ends when disconnected, or get some caps.  Caps will help protect the pins on the males, but won't keep the flange from crushing.  I like the machined pins best, but regular crimp or soldered are fine if the strain relief is good.

The advantage to using the D's is that if you use a standard pinout, you will have Pro Tools/Tascam/whatever breakouts, which may be useful in other circumstances.

Elco/Edac connectors are more bulky, but the bifurcated contact is reliable, and the sexless pin is an advantage.  If you use them, put the receptacles with locking nut on the snake portion, and the plugs with actuating screws on the fanout.  That way, the part that is dragged around is most protected and least likely to snag.  Use the ADAT standard pinout for compatibility with other devices.

Similar to the Elco/Edac is the Cannon DL.  The DL is a zero insertion force connector and will last for an unlimited number of cycles.  It's a little more compact than the Elco/Edac setup and, if I recall correctly, you can use an Elco 56 metal hood with one to make it more indestructible.

AMP CPC "Circular Plastic Connectors" are a great low cost - high reliability connector.  Not as sturdy as some metal equivalents, but nearly so, and lighter, plus less damaging to the floor that you drag it over.  Super easy to connect.

For any of these, try to find the highest quality tooling you can get.  eBay usually has the tools that list for $150-$700 for $15-$25.  If you are crimping a pin with insulation support, make sure to set your tool to support the insulation, not crush it!

If it is not already clear, there are big differences between D-Subminiature connector qualities, and costs.  Some are rated by number of connect disconnect operations, some are unrated, but as the previous poster mentioned... machined pins... is a great tip off to a higher quality connector.

A balanced snake contains shielded pairs, and the ground hot and cold are in little "trio's" of three pins, close together in the Tascam pinout, which makes sense from a shielding point of view, because in most connectors the shield has lower coverage.

Note that in the connection of the tascam connectors to the back of a audio interface, or patch panel, connection of the "shell" is generally to the chassis, but as you are considering breaking snakes and putting connectors "mid snake" so to speak....  Some consideration will need to be given to how/if the shell will be grounded/connected.  This would be true of any connector.  I am not sure if there is a standard for this, if the snake had an outer shield that would be an obvious choice.

I found these...

http://www.ebay.com/itm/251028045395?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649#ht_1710wt_1229

the price is certainly right, but, ya know, maybe too good to be true.

I like the idea of having the fanout end contained inside of the rack with a "panel mount socket" mounted to the side wall of the rack.  Which is of course possible with other types of connectors.

That's some great info everyone, especially regarding following standard pinout's. 

substitute said:

I like the idea of having the fanout end contained inside of the rack with a "panel mount socket" mounted to the side wall of the rack.  Which is of course possible with other types of connectors.

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That's a standard strategy.  Since this setup is essentially a live-rig setup where the cabling is not neatly tucked away, I suggest that you mount the connector panel at the bottom of the rack, so that when the cable is tripped over it won't pull the rack over.  If you really want to go nuts, put a Kellems grip on the cable and a hook on the rack to clip it to.

Crimp style dsubs are much easier to pin/repair than solder cup.

Cheers,
jb

I would not recommend crimp for a first-timer without some training.

There is nothing wrong with a solder dsub breaking a mic run in a home studio.  I have NEVER had to replace a bent or broken pins on a dsub, even in places that use panel mounts and different breakouts daily in studios.  Same said for CPC which is available in solder.
I have had to fix TONS of broken DL and ELCO pins. 

For the home rig KISS.  Buy gold plated male/female conns and metal housings.  Markertek or Redco will beat Mouser prices at low quantity. 
Going now to solder 12 dsubs for a new PT rig. . .
Mike

Hmmm, ok.  Quite a range of experiences.  I don't really want to buy a crimper so I'll probably go with a solder cup.  Thanks for the marketek/redco tip.